Archive for June, 2012
26th June 12
Great brands have long understood that providing customers with enjoyable, differentiated user experiences is critical to winning their loyalty. Walk in to a Waitrose supermarket or Kohl’s store and there’s no comparison to a Tesco or a kmart from the layout of aisles, to the attitude of the staff to the products they do and don’t stock.
‘Screen’ UX offers brands a whole range of new opportunities to really deliver on their promises and strengthen their customer relationships. But too often this is a missed opportunity, we end up with experiences that are good but not great. They work, they conform to best practice rules & standards but if you take away the logo they are indistinguishable from each other.
Wind tunnel web design?
The screen shots above are from a recent Zag audit of the Personal Finance Manager (PFM) market but the point applies to plenty of other categories. Jim Carroll has spoken passionately here about the Wind Tunnel Marketing but are we also in danger of entering the age of Wind Tunnel Web/UI design?
We believe that the most effective way to avoid this situation is to put brand at the heart of UX, to use it as the north star to guide the myriad of interactions and touchpoints that brands create for their customers.
Of course this is easy to say, much harder to do. Here are 6 ingredients that we find help foster a successful fusion of brand and UX, based on projects we’ve worked on and projects we wish we’d worked on. It’s certainly not comprehensive, more intended as a conversation starter – we’d really like to hear about other ingredients that people find useful here.
#1 A proper understanding of your audience
This is obvious but too often people pay lip service to this area. You really need to know the needs, interactions and emotions that colour their experience of your brand and your category. And even more importantly is to have genuine empathy for them as PEOPLE not consumer/users. He’s not a 25-44 year old ABC1, he’s a proud dad who works to hard and reads to his kids too quickly on Thursday nights so he can go out with the boys and so on...
#2 A proper understanding of your brand’s purpose
Again obvious. But again too often this is more about platitudes than purpose. For this to work you need to have really asked the tough questions of the brand in question. Why is it really there? What is its role really?
Nike’s purpose is one of the best I’ve seen for this sort of thing. It’s inspirational, it’s directional and it’s very very stretching. Nike will never complete this mission but they are creating a lot of amazing products while they’re trying. The CEO Mark Parker was instrumental in pushing this mission through eleven years ago. It’s hard to see the previous one (‘to be the number sports & fitness company in the world’) being much use as a guiding principle for UX…
#3 Appreciate that the rules of branding have changed
When we say ‘brand’ we don’t mean a didactic set of messages, rules and templates to roll out over every touch-point. We mean a coherent set of guiding principles to help designers make the right decisions about what to say and what to do. Adaptable rather than monolithic. Otherwise the whole exercise will do more harm than good.
#4 Run a collaborative multi-discipline process
Every project has a different set of skillsets but one thing we’ve found always leads to better results is to keep it open and collaborative from the outset. So we make sure our graphic/digital designers are challenging (or even writing!) the business/brand strategy on any project from a very early stage. This helps avoiding the platitude/purpose issue touched upon early. If the brand strategy isn’t speaking to the people charged with bringing it to life then it’s probably pointless.
If you’ve got the above ingredients in place then you should be in a really good place to try and achieve something special, to make the brand thinking tangible and improve it:
#5 Create signature interactions
Flipboard is there to be beaten as an example of brand and UX. A clear vision to be a ‘Social Magazine’ that fuses the beauty and ease of the print magazine experience with the power of social media. The signature interaction of the gentle ‘flip’ movement. And it’s in the name!
Wonga’s ‘money sliders’ are another powerful example. They exemplify ‘straight talking money’ and a more down to earth approach to finance every time you to interact with them.
#6 Surprise people (in a useful way)
Everyone knows the situation. You’ve finally reached the end of a critical project phase. You are sending the authoritative, definitive email to all the stakeholders to wrap everything up, accompanied by the pdf of the amazing work…and then you send the email without the attachment and have to send another going “ahem’ here’s the attachment”. Except when I [Steve] was in the process of executing this understandable error Gmail stopped me.
You can be sure that anyone who’s experienced that bit of help will tell a lot of people and be more loyal to the brand in the future.
To us this is the benchmark in terms of moments of surprise and delight. Here is a brand using ‘screen’ UX to build relationships with their customers in as powerful a way as Waitrose are using their store experiences.
What are the equivalent moments for the brands you work on?
If you enjoyed this post then we should acknowledge the influence of inestimable @adamtvpowers, BBH London’s Head of UX.
19th June 12
Author: Ross Berthinussen, Strategy Director, BBH London
At 11 o’clock this morning, we premiered the launch ad for our new Olympic campaign for British Airways on Facebook. At 7.35pm GMT this evening, it will be broadcast to the UK, just before kick off in England’s critical, final group game in the Euros.
The campaign is a rallying cry for Britain to stay at home during the London 2012 Olympic and Paralympic Games to support the national team. Just this once, when its country needs it most, when the Olympic Games comes to London, Britain’s national airline is telling Britain not to fly.
Even with its tongue in cheek tone, it’s a bold move. I thought I’d share some of the thinking behind the campaign and some things we’ve learned along the way.
We’ve had a turbulent journey with BA over the last six and a half years. We’ve been with them through the PR disaster of T5, fog, volcanic ash, the recession and industrial disputes. But right now, confidence is high. They have new leadership, they’re financially solid after the merger with American and they’re reinvesting in the customer.
Our communication has had a job to do to help restore this confidence – to rebuild pride inside the organisation and the emotional connection the nation has with its flag carrier.
In September last year, the airline recommitted to “To Fly. To Serve”, a motto that has lived in the organisation for over fifty years, with a campaign that celebrated the people who live their lives by this ethos. We followed this fast with a campaign in February that heroed the BA team who were ready to welcome the world to London for the Olympics.
Our body language over this time has been critical. To instil confidence we had to act with confidence. We bought big TV spots, press insertions and outdoor sites. We had the confidence to lighten up. We featured an orangutan and racing baggage in our ads. This summer billboards across London will rally Britain, “Don’t Fly. Support Team GB”.
Build in reward
We hope people are going to lean into this idea: we’ve got a series of high profile TV spots this week to build conversation; with the British Olympic Association’s backing we’ve persuaded members of Team GB and Paralympics GB to share the ad – so a lot of people will hear about it first from the athletes; and hopefully the nature of the idea will spark interest and debate.
So we wanted to build reward in for those who want to get a bit closer.
We’ve created a customisable version of the TV ad online in which you can enter your postcode and, using the Google Streetview API, watch a version of the film with the plane taking a detour down your street. To premiere the ad this morning, BA’s facebook community were asked to first enter their postcode to receive a personalised version of the film.
We’ve made a documentary with Michael Johnson, Sir Clive Woodward, Denise Williams and Shelly Woods, that explores the difference it makes for sports people to compete on home soil with a nation behind them.
The ad itself has scenes that reward multiple viewing – like the old lady onboard who checks the time on her watch as she passes Big Ben.
And we might have made a short film that suggests there might have actually been a plane driving through Richmond Park – whilst making a nod to the Fenton viral.
Do vs. say
We obsess a lot at BBH about getting to different kinds of ideas. Asking what can we do, rather than what can we say, seemed a good place to start here. The creative brief for this idea was, “what can we do to show our support for Team GB?”
Have a point of view, start a conversation
We got to the idea of telling Britain not to fly early. It became grounded when we listened to an ex Olympian talk about the concept of the home advantage. This gave the brand a point of view on the Games and the guts of our campaign. All our activity invites you to join in with #homeadvantage.
Get everyone onboard
There are over 40,000 people working at BA. There was a chance that they might not like us telling people not to fly. We needed them to understand that this was the ultimate expression of our support for Team GB, that it would help build the brand and that people wouldn’t take us too literally. So BA have been running a huge internal programme to get them onside and share the thinking behind the campaign.
We’re telling people not to fly but we still need to sell flights. Whilst we can’t be seen to promote travel over the Games we can offer money off flights and holidays to get away afterwards – this idea actually came from our client in the meeting when we first shared the idea.
Be generous (and dodge the tornado)
You have two fears developing a campaign as an Olympic sponsor. One, that you will appear cynical, simply piggybacking on the event for your own gain. Two, that you will be swept up in the tornado of other sponsors (and hi-jackers) vying for people’s attention and time. Brands trying to claim that they are also faster, higher, stronger. Or showcasing athletes using their products.
This campaign builds on a series of things BA have been doing over the last few years to support Team GB and Paralympics GB, including flying the team and its equipment around the world, which has built credibility in this space. We hope that this Olympics, by zagging when everyone zigs, by having the courage to admit that the fortune of the British team is more important than buying our product, we will not only dodge the tornado but be seen as genuinely contributing to the performance of the British Team.
We couldn’t have got here without a brilliant relationship with a very brave client, a talented BBH team and the support of a tight team of agency and production partners including Zenith Optimedia, IMG, Cake, 12th Floor, Partizan, Framestore, Stitch, Angell Sound, Black Sheep Music, Google and Paul Zak at Burnham Niker.
(And, it goes without saying, if you’re British and reading this, please consider staying at home and supporting Team GB and Paralympics GB during the Games. Your support could be the difference between silver and gold).
15th June 12
Author: Jim Carroll, Chairman, BBH London
I attended a talk by the top Royal Ballet choreographer and dancer, Liam Scarlett. He is only 26, but he has already choreographed two exceptional ballets for the main stage at Covent Garden. And he still finds time to dance in the company.
Scarlett was discussing how he approached creating his 2011 work, Asphodel Meadows, around a particular piece of music, Poulenc’s Double Piano Concerto. One could be intimidated, he said, by the scale and complexity of the Concerto. Where to start? How to break into the task? Whereas with narrative ballet there is a natural sequencing to follow, with an abstract work there is no obvious entry point. He explained that his own process was first to identify the ‘epicentre’ of the music, its emotional core. He knew that if he could just design the pas de deux around a particular romantic passage in the second movement, everything else would follow. Having got to the emotional heart of the music, he could work outwards to the rest of the piece.
I am often in meetings nowadays when a Client demands an idea that is media neutral, that extends across every channel, region, product and form of engagement. All the colours, in all the sizes. Such a panoramic demand can be rather intimidating. And I have found that telling the Creative Department we need to cover the walls with ideas is not entirely helpful.
I suspect that, following Scarlett’s lead, the key to cracking this kind of challenge is not to consider it in its totality or in the abstract. Ideas tend to be born in the specific. The key is to find the epicentre of the task, to find its emotional heart. Read full post
1st June 12
Posted in data
Every year we like to cover the Internet Trends and Stats presentation that Mary Meeker & Liang Wu from KPCB compile. It’s always great and this is no exception. These were some of the stats that we found interesting:
- The global internet had 8% growth mostly from emerging markets
- 29% of USA adults have a tablet or eReader
- The average eCPM for desktop internet is $3.50 and $0.75 for mobile
- Mobile surpassed Land Lines in 2002
- Internet advertising revenue surpassed newspaper advertising revenue in 2010
The report wraps up with a look at the U.S. Economic situation, which comes across as slightly more political than we have seen in the past.